Speaking of Kubrick, this 1976 review of Barry Lyndon by John Hofsess for the NYT is interesting:

Eventually, Kubrick may end up in a cul-de-sac, for he is
following a similar line of development — using the “grammar” of
the film medium — to that pursued by James Joyce and Vladimir
Nabokov in fiction. There is no question that Joyce and Nabokov —
more than any other writers in the 20th-century — brilliantly
explored and expanded the limits of language and the structure of
novels, yet both were led irresistibly and obsessively to cap
their careers with those cold and lifeless masterpieces,
“Finnegans Wake” and “Ada,” more to be deciphered than read by a
handful of scholars whose pleasure is strictly ratiocination. It
is characteristic of such careers that people keep saying, “This
time you’ve really gone too far! We liked your last film or novel
— but that’s it!” The price of growth is disaffection.

That wasn’t true of The Shining, but it seems remarkably prescient regarding Full Metal Jacket and especially Eyes Wide Shut.